Top 858 Editing Quotes & Sayings - Page 6
Explore popular Editing quotes.
Last updated on April 20, 2025.
The greatest thing that prepared me for editing 'Vanity Fair' was having four kids because you just learn to subjugate your ego with the greater interest in mind.
I think what holds people up in creative processes is the expectation of what it is they're doing. It's also the sense of judgement, you know, people editing themselves.
You finish a film not in the editing, but in the conversations that audiences have with themselves - and in that sense, every viewer is making a slightly different film. And that's wonderful.
In early days, I showed everything I made. There was no such thing as editing a collection. In the '80s, it got to the point where we'd have shows with a hundred looks. You'd want to order a pizza before it was over!
Particularly in the final stages I always find that I'm rushed. It's dangerous when you're rushed in the editing stage, most of my early films are flawed in the cutting
With bad movies, I have this image in my head of the director and the editor in the editing room watching a scene that is not happening, looking at each other and saying, 'Put some music in there.'
Even if it's a "talking head documentary" about a social movement or something along those lines, I've always thought of editing the timing and the sense of the piece for the theatrical experience.
When I'm editing, I try to bring out some dramatic structure. I think it is about theater in some way; it is a little play.
The essence of cinema is editing. It's the combination of what can be extraordinary images of people during emotional moments, or images in a general sense, put together in a kind of alchemy.
My office-hour reading is fairly ad hoc: I generally read whatever seems relevant to what I'm editing, writing, or thinking about writing.
The greatest thing that prepared me for editing Vanity Fair was having four kids because you just learn to subjugate your ego with the greater interest in mind.
Writing one's first novel, getting it sold, and shepherding it through the labyrinths of editing, production, marketing, journalism, and social media is an arduous and nerve-wracking process.
Songwriting is like editing. You write down all this stuff - all this bad, stupid stuff - and then you have to get rid of everything except the very best.
I remember walking into the editing room when I was a junior in college, and I watched the guy make cuts, and I didn't know what the hell was going on. He was just putting these shots together and telling the story, and it was amazing.
I love being on stage if I'm not on a set. If I'm at home, I'm usually in my office editing or reconstructing my website or whatever it may be. I just love putting creativity into a performance.
Making movies is hard for me. Being on set is very trying. I'm not good at being that communicative for that long. Editing is where I'm happiest.
I think overdesigning comes from a lack of editing. The strongest, most compelling, and most useful things in life are irreducible - love, truth, faith, honor.
I'm a student. I want to do better, and I want directors who can find the actress in me and be my teachers. I'm interested in the whole process of editing, post-production and direction.
Editing is now the easiest thing on earth to do, and all the things that evolved out of word processing - 'Oh, let's put that sentence there, let's get rid of this' - have become commonplace in films and music too.
For film at the beginning of the 20th century, they didn't even know what editing was yet. Actors didn't know how to perform in front of the camera. There wasn't sound.
I love the idea that the editing room is the final time you write. You should still be creatively solving problems even at that point. It's not really until you're locked that you can call it quits.
I moved to New York City when I was 20 years old, started making movies non-stop. I didn't have any friends, so I would just sit at home all night editing on my iMac.
The discipline of writing a memoir comes in the editing. This is where I cut, slash, and burn - where my creative mind is transformed into a ruthless one. No word escapes my scrutiny. It is here where I see what boundaries need to be set.
It's hard for people to understand editing, I think. It's absolutely like sculpture. You get a big lump of clay, and you have to form it - this raw, unedited, very long footage.
I'm a writer first and an editor second... or maybe third or even fourth. Successful editing requires a very specific set of skills, and I don't claim to have all of them at my command.
I really am a strong believer that with editing, it should take a long time. Even you yourself are not capable of making the right decisions; sometimes you need a distance.
On the Web, we can be whoever we wish to be, editing the face we show to others in ways that aren't possible in physical space. We can also fine-tune the complexity and depth of our interactions and relationships.
Very few people make exterior movies anymore. It's always action films driven by action and quick editing.
Movies become art after editing. Instead of just reproducing reality, they juxtapose images of it. That implies expression; that's art.
It's so easy to make albums with overdubbing and editing these days, but I really prefer playing live and just getting the music to sound right because the musicians, the songs and the performances are good.
Artistry is important. Skill, hard work, rewriting, editing, and careful, careful craft: All of these are necessary. These are what separate the beginners from experienced artists.
From the time we open our eyes, we live in a Steadicam form, and the only editing is when we talk about our lives or remember things.
Editing is just ongoing. I don't count drafts, or know what would fully constitute a draft. But I try to fix as I go. And there's always more to fix.
I brought Yoko Ono to New York and gave her her first job there. I was editing a magazine called Film Culture.
Particularly in the final stages I always find that I'm rushed. It's dangerous when you're rushed in the editing stage, most of my early films are flawed in the cutting.
Sometimes you just create a joke out of thin air in the editing room. I'm really glad I've had that experience. It gives me a little more confidence in front of the camera.
In the editing process, I delete what I do not want to use, move what remains around if necessary and add elements that I feel will make my visual statement as clear and understandable as possible.
I feel like my art is very eclectic. I have taken my favorite things - be that costume designing, fashion sense, music and video editing - and I threw them all into one big clump. And that's what I do.
I wanted to make '13 Assassins' in the old manner, to use old techniques and not to rely on modern-day ones such as CGI, or editing that changes the speed.
It's a lot of power to give the director to edit his own stuff. It's also a time thing: you don't want to have to wait for the guy to finish shooting before he starts editing.
I do have to admit that teaching, composing, and editing is a bit easier than sitting at the organ or harpsichord for seven straight hours, but I do love to do it anyway! I have found my career changing over the years.
I made adult films for over 12 years. Apart from the directing aspect, I did all of it - the filming, the editing and the stills. I shot about 300 movies, which was great fun.
This whole blogging stuff has been bugging me for years. Talk about no filter on things. People feel free to do and say whatever they want with no vetting, with no editing, with nothing.
I'm not a writer, but I'm very good at editing. That's my specialty. I can read something and tell you everything that's wrong with it and what's great about it and what needs to change, but it's hard for me to organize my thoughts.
I've never been a big fan of the music-video style of editing movies that crept in the last few decades. I like stuff that's able to take its time.
With all editing, no matter how sensitive - and I've been very lucky here - I react sulkily at first, but then I settle down and get on with it, and a year later I have my book in my hand.
In the editing room, 20 percent of the time you're using stuff from before the actor knew the camera was rolling or you're taking a line from somewhere else and putting it in his mouth.
The work, I suppose, is made in the editing, whereby I make literally hundreds of drawings, and then a much smaller percentage of those become the finished work.
Obviously movies like this [Fast and the Furious 7] don't get any love from the Academy. If they do, it may be special effects or sound editing or something like that.
I have more control of the material if I produce. I can be much more active in choosing the writer, shaping the script, casting and editing the film.
I really only became an editor, or started doing my own editing because I was filming the docs and you simply can't keep an editor on for as long as it takes so.
My father's films are often very slow for the modern audiences, which are used to a lot of editing. It's the audience that watches the film instead of the director dictating the reaction he wants from you.
Most artists are going into the studio for a fixed period of time, and they say that's their album. I can't relate, because I've never made music in that way. I come from a culture of editing and remixing.
My undergrad degree was in graphic design, and I don't work in that anymore, but I obviously do a lot of design and editing and Photoshopping, and the Adobe Creative Cloud is essential!
Self-editing is the way I write. Ten verses of a song and it's finished. Then we start playing it and if I see that it's too long, I'll start cutting.
I guess if editing doesn't hurt, you're probably not doing it properly. I find it quite difficult. The hardest part is believing that it's actually working and getting rid of the doubt that always creeps in.
I don't like a kind of workshop that is about editing--I don't want to sit there and be an editor. I don't want to tell someone how to "fix" a poem.
The film [Dream of Life] came together when we started editing; it was organic, it became nonlinear and it was its own animal. And I didn't want to tame it, either. I wanted it to be different. It's not your typical documentary.
I brought Yoko Ono to New York and gave her her first job there. I was editing a magazine called 'Film Culture.'
I would have a problem directing a scene like most directors do, in that TV style. I would get bored, I don't enjoy editing in the classic way.
